(Continued from last week) https://highlandpost.com/the-khasi-visual-art-tradition-10/
However, the people of the State are yet to cultivate the taste of contemporary art, and most of the elite and wealthy persons refrain from promoting art and indulge in art collection, either for aesthetic appreciation or for prospective investment. There are discourses between the artists and intellectuals in the society, but hardly any effort for acquiring possession of the artworks irrespective of the value of the art or the caliber of the artists. Therefore, it requires a two-prong approach on the part of the artists and the society to synergize the intellectual property and articulate the worth of the material content and assess the intangible value of the artworks. Primarily, it is the duty of the artist to create quality art and asserts the demand of society, through the intervention of promotional agencies like art curators and galleries.
The mindset of the people in the society could be influenced by the promotional agencies in tandem with the intellectual cultivation to convince and facilitate acceptance with the interest to venture into art collection. The interest should be generated to the extent that the clientele is attracted with the spirit of concern and ownership. The ancient practice prevailed in every society and civilization where people value gold and estate as exotic property and investment for generations, and the same could be created for art. Another aspect of social influence that could be inculcated is to authenticate that art is the symbol of status in society, which is more worthy than any extraordinary possessions like swanky cars, glamorous interior furniture, Hitech computer, television, refrigerator, music system, and abundant material properties. If the trend is created, it is easier for society to absorb and accept art as an essential part of household possessions. In observing the actual situation in Meghalaya and Shillong city, in particular, there is a diverse attitude of the society towards arts. There are wealthy people with proper education as well as the illiterate that are generally driven away by the allurement of merchants in acquiring precious possessions. They are not familiar with the potential of art as intellectual property and are more than often enchanted with religious images; whether Hindu, Islam, or Christian faithful. The real patrons of art always emerged from the middle-class society with a sincere passion for the art, because the lower strata of the society are more concerned with food and shelter. This phenomenon is being authenticated by Riti Academy of Visual Arts after the setting up of Mad Gallery in Shillong city. To substantiate the claim there are a few interesting incidents that proved the genuine spirit of certain individuals about their attachment to the arts, especially the female members of any family.
It is observed that continuous exposition and interaction about art will persuade certain people to be reminded about the need to acquire commendable and affordable artworks. In one instance, Thoh Shun Art Camp 2005 attracted innumerable art enthusiasts and most of the artworks were acquired by womenfolks, even as a few men also purchase some artworks as a gesture of support for the local aspiring artists. The other significant exhibitions including certain mega events organized by private institutions and government departments also have reaped certain benefits for the artists and local artworks are being appreciated. However, Mad Gallery is a different avenue for art as an industry for the respectable section of society. In one instance, a young female student visited Mad Gallery regularly in admiration of the artworks, but would not dare enquire about the price. One fine day the mother of the student reluctantly approached her friend because she assumed that art is for the privileged people. She was an ordinary middle-class woman with numerous domestic burdens; but on rigorous persistence by her daughter, she was compelled to acquire a couple of artworks without hesitation. Both of them were extremely joyful to have possessed a pair of precious artworks. In another instance, another middle-class lady was nostalgic about the art collection of her father that was neglected and lost. As a tribute to her father, she desired to obtain certain artworks from Mad Gallery, which she did without a second thought. However, her husband was apprehensive about what he perceived as a lavish and extravagant expenditure. The lady promptly reacted and promised her husband to sacrifice and abstain from purchasing her personal valuable possessions for a certain period in compensation for the worth of her chosen artwork. An architect had a casual visit to Mad Gallery and was enticed by one painting and paid for it instantly without any negotiation. A tourist from mainland India was tantalised by another painting, but could not afford it at that moment. After a few years, he made it a point to visit Mad Gallery and the painting was already removed from the wall. He assumed that it must have been disposed of, but was exhilarated to discover that the painting was still lying in the closet, which he paid for and took away with contentment. A local tycoon was aware of Mad Gallery in a small town like Shillong, which he visited and acquired a few artworks without further inquiry. Another lady from South India visited Mad Gallery only to be found that there are no suitable artworks for her travel; however, she noticed a few small pieces of artwork that are not meant to be disposed of. They are pencil sketches of local folk life and portraits for the in-house collection. The lady insisted on paying several times more than their actual cost, which it is necessary to oblige, and was grateful for her truthful appreciation of the indigenous folk elements in the sketches. One of the most exhilarating experiences is the commissioned work assigned by two women working in the account section of the central government institution. With their little knowledge of art, they were acquainted with few artists in Shillong, and accordingly; they have made an effort to enquire about the best of their choice. Ultimately, they landed up at Riti Academy of Visual Arts and after showing certain samples of portraits, they were instantly fascinated with the painting and sketches by Skhemlang Hynñiewta. As the head of the institution, I {Raphael Warjri} have taken up the assignment according to their requirement, which they desire to present to their boss, an outgoing Director of Accounts. Being the staff of the account section, it is unusual that such passion and enthusiasm for art is indicated in their attitude and temperament. Furthermore, the creative concept that they have described their working relationship within the department is represented by the picture taken at the office chamber of their chief. Regrettably fortunate, the artist, Skhemlang Hynñiewta is not available for the assignment, and I am compelled to do it of my own accord. I was not confident enough due to a lack of proper eyesight and a lapse of practice for fine artwork. Nevertheless, I do not have any option and the deadline is haunting my aura. I just decided to take up the challenge and within a few days, I sent the Whatsapp picture of the half-done artwork for their opinion. There was immediate reaction and criticism with genuine observation for improvement. The assignment was finally accomplished with contentment and sincere appreciation of the entire staff in their office. When the honourable Meghalaya Governor, Mr. V Shanmuganathan released the bilingual drama book entitled ‘Blatant- Pen Ryngkew’ at Mad Gallery, Umsohsun few officials of Raj Bhavan accompanied him and noticed the artworks on display at the gallery. Later, when there was an inquiry about art by the new incumbent, the honorable Governor, Mr. Tatagatha Roy, they instantly remembered Mad Gallery. The Aide-de-Camp recommended Riti Academy and convinced the Secretary to the Governor for the assignment on the portraits of freedom fighters of Meghalaya. When the assignment was completed, the honourable Governor was delighted and held an official unveiling of the portraits at Raj Bhavan Durbar Hall by the honourable dignitaries, Mr Conrad K Sangma, Chief Minister, Mr Metbah Lyngdoh, Speaker, Meghalaya Legislative Assembly, and Sñiawbhalang Dhar, Cabinet Minister in the presence of a host of other cabinet ministers and senior Government officials including Mr M S Rao, Chief Secretary of Meghalaya. Personally, I was taken by surprise that the honourable Governor in person desired to felicitate our humble endeavour with a traditional scarf, a plaque, and other incentives. The most exhilarating experience is the profound speech by the Chief Minister on art, literature, and the State cultural heritage, with special reference on the portraits of the freedom fighters.
The assignment is supposed to be done literally according to their requirement, but their involvement in the process has motivated my endeavour. It is important to mention the few among the various encounters with the serious art aficionados, who are prepared to forfeit their material comfort and luxury for the cause of art.
